Henry VI, Part 2

Henry VI, Part 2 puts onstage a kind of story that was very popular in the years before Shakespeare began writing, a story of the fall, one after another, of men and women from positions of great power to their untimely deaths.

Such a pattern in this play was obvious to the publishers who first put a version of it into print in 1594. They chose not to call the play by the name of its king, as did the First Folio, and as we do. Instead they gave it the title The First part of the Contention betwixt the two famous Houses of York and Lancaster, with the death of the good Duke Humphrey: And the banishment and death of the Duke of Suffolke, and the Tragicall end of the proud Cardinall of Winchester, with the notable Rebellion of Iacke Cade: and the Duke of Yorkes first claim vnto the Crowne. This title, typical of the time in its length, indicates a reading of the play as the beginning of “First part” of a succession of catastrophes.

The first of those catastrophes afflicts “the good Duke Humphrey,” or the Duke of Gloucester, who at the beginning of the play is Lord Protector of England and therefore the most powerful man in the kingdom—the one on whom King Henry relies absolutely to dispense justice to all his subjects. Gloucester will be murdered, but only after his beloved Duchess has herself fallen, sent into exile through her own ambitions and the conspiracy of their enemies.

After Gloucester’s murder, as the title goes on to say, comes “the banishment and death of the Duke of Suffolke.” Another of the most powerful men in England, Suffolk was the noble who arranged King Henry’s marriage to Queen Margaret and who, as the queen’s lover, ruled England through the influence he exerted over the queen, who in turn prevailed over the king. But when Suffolk conspired with the “Cardinall of Winchester” to kill Gloucester, Suffolk was banished. In his newly vulnerable state, he became the victim of assassination.

“The Tragicall end of the proud Cardinall of Winchester” seems almost the result of Gloucester’s murder, as the Cardinal dies raving about his guilt and the punishment waiting for him in the next world.

The play shows that the fall of these English nobles and their ability to prey on each other come about through the weakness of their king. Uninterested in politics, King Henry sought a life of spiritual contemplation; almost all of his speeches reveal in their allusions to the Bible his otherworldly interests. Largely absent from deliberations of the affairs of state, King Henry left his royal family and aristocrats free to contend for power.

As the conclusion of the long title of the 1594 quarto reveals, however, the king's own liberty is thereby also put at risk, as first Jack Cade and then the Duke of York openly rise up against him. Henry VI, Part 2 keeps its audience in suspense about the ultimate fate of the king by ending at the beginning of the Wars of the Roses, which set the white rose of the Duke or York against the red rose of King Henry of the House of Lancaster. The outcome of these wars will be presented inHenry VI, Part 3.

Henry VI, Part 1

Henry VI, Part 1 is an uncompromising celebration of early English nationalism and imperialism. The play defines the English against the French, whom it degrades as scheming, effeminate, and willing to consort with the devil. It idealizes the English king Henry V for his successful conquest of much of France during the Hundred Years War. But Henry V has died just as the play begins, and leadership of the English cause in France has passed to Talbot, an indomitable, fierce, almost perpetually enraged, and therefore altogether masculine warrior hero. Yet Talbot is not as fortunate as Henry V. While all of France, we are told, shakes in terror at the name of Talbot, the French still refuse to yield. Opposed to the idealized Talbot are a number of other characters who fail to match him. One is the official leader of the French, Charles the Dauphin, whose status as a military hero suffers a blow very early in the play when he must yield a single combat to Joan La Pucelle, or Joan of Arc. She then becomes the captain of the French, showing admirable cunning and resourcefulness in devising strategy and remarkable boldness in carrying it out. She fulfills for the French her claims to have been chosen by the Virgin Mary as the chaste instrument of France’s liberation from the hated English invaders. However, for the English, her shrewdness and power issue from the practice of filthy witchcraft, and her pretensions to chastity mask a characteristically French sensuality. Also opposed to Talbot are many of the English, especially those who remain for the most part in England. They include Gloucester and Winchester, two bitter rivals more intent on defeating each other than the French. Gloucester, the Protector of the boy king Henry VI and therefore ruler of England, and Winchester, a bishop and cardinal, urge their servants on to brawl openly in the streets of London. Before their quarrel can be silenced, another breaks out between the Duke of Somerset and Richard Plantagent, soon to be powerful as Duke of York. Once in France, they and their followers seek royal permission to fight each other, rather than the French. The play demonstrates, especially from this point on, that the French owe their victory to the English defeat of themselves. Talbot and his son, despite their glorious self-sacrifice in the English military cause (presented to inspire imitation among all Englishmen), cannot prevail against the French, because the rest of the English nobility are intent on preying on each other in the service of their own ambitions. Henry VI, Part 1 may have been staged as early as 1592, when a play referred to as "Harey the vj" was performed several times. (The "vj" is equivalent to the Roman "VI.") It first appeared in print in 1623. Shakespeare apparently drew on several sources for the play; scholars believe his main reference was a history by Edward Hall, Union of the Two Noble and Illustre Families of Lancaster and York.

Henry VI, Part 2

Henry VI, Part 2 puts onstage a kind of story that was very popular in the years before Shakespeare began writing, a story of the fall, one after another, of men and women from positions of great power to their untimely deaths.

Such a pattern in this play was obvious to the publishers who first put a version of it into print in 1594. They chose not to call the play by the name of its king, as did the First Folio, and as we do. Instead they gave it the title The First part of the Contention betwixt the two famous Houses of York and Lancaster, with the death of the good Duke Humphrey: And the banishment and death of the Duke of Suffolke, and the Tragicall end of the proud Cardinall of Winchester, with the notable Rebellion of Iacke Cade: and the Duke of Yorkes first claim vnto the Crowne. This title, typical of the time in its length, indicates a reading of the play as the beginning of “First part” of a succession of catastrophes.

The first of those catastrophes afflicts “the good Duke Humphrey,” or the Duke of Gloucester, who at the beginning of the play is Lord Protector of England and therefore the most powerful man in the kingdom—the one on whom King Henry relies absolutely to dispense justice to all his subjects. Gloucester will be murdered, but only after his beloved Duchess has herself fallen, sent into exile through her own ambitions and the conspiracy of their enemies.

After Gloucester’s murder, as the title goes on to say, comes “the banishment and death of the Duke of Suffolke.” Another of the most powerful men in England, Suffolk was the noble who arranged King Henry’s marriage to Queen Margaret and who, as the queen’s lover, ruled England through the influence he exerted over the queen, who in turn prevailed over the king. But when Suffolk conspired with the “Cardinall of Winchester” to kill Gloucester, Suffolk was banished. In his newly vulnerable state, he became the victim of assassination.

“The Tragicall end of the proud Cardinall of Winchester” seems almost the result of Gloucester’s murder, as the Cardinal dies raving about his guilt and the punishment waiting for him in the next world.

The play shows that the fall of these English nobles and their ability to prey on each other come about through the weakness of their king. Uninterested in politics, King Henry sought a life of spiritual contemplation; almost all of his speeches reveal in their allusions to the Bible his otherworldly interests. Largely absent from deliberations of the affairs of state, King Henry left his royal family and aristocrats free to contend for power.

As the conclusion of the long title of the 1594 quarto reveals, however, the king's own liberty is thereby also put at risk, as first Jack Cade and then the Duke of York openly rise up against him. Henry VI, Part 2 keeps its audience in suspense about the ultimate fate of the king by ending at the beginning of the Wars of the Roses, which set the white rose of the Duke or York against the red rose of King Henry of the House of Lancaster. The outcome of these wars will be presented inHenry VI, Part 3.